With releases on the Codes and Tectonic labels, and a foundational member of the Project 13 contingent, Acre is fast becoming one of the UK’s most distinctive young producers. Probing the depths of fwd music, a slew of Grime, Jungle + Techno rush through his productions – though he never rests on one, instead tying the peripheries of each together into a fractal paradigm of the UK underground and an exploration of vantablack futuristic sounds.
His debut album ‘Better Strangers’ landed on Tectonic in 2015 after a string of split 12” appearances alongside Filter Dread, FIS and Hodge. The seemingly impossible jostle between melted discordant Sublow, hyper ATL hit-hats, hydraulic crashes, 8-bit leads and whispers of melancholic R&B received widespread acclaim (Fact Mag’s #13 album of the year), and in 2016 the enigmatic South Mcr reared producer hasn’t looked like slowing down.
Already setting the tone for the year with his new monthly show on NTS with P13 and his first Japan tour completed, expect Acre to continue throwing his hybrid depth charges from the shadows as the year continues.
Originally formatted in 1945, AUDINT currently consists of Toby Heys and Steve Goodman/Kode9. Drafted into the research cell in 2009 by IREX2, they have been directed to investigate the ways in which ultrasonic, sonic, and infrasonic frequencies are used to demarcate the soundscape and to subsequently perceive how their martial and civil deployments modulate psychological and physiological states. The information garnered from this research is subsequently utilised to enact installations, performances, books, and films.
AUDINT’s multi-sensory installations employ Unsound Systems (directional ultrasonic speakers, bespoke sub woofers, and wearable vibrating SubPacs) in dark humid rooms. Integral to each work is the Dead Record Archive – a chronicle of events, songs, books, scientists, historical figures, technologies, films, laws, etc that pertain to the ways in which frequencies psychologically and physiologically affect humans. This illustrated archive is composed on the insides of vinyl record sleeves. In this way AUDINT use and amplify the other side of sonic culture – the side of the record usually kept in the dark – music as a weapon. Installations have been carried out at venues such as – The Academy of Art in Berlin, Art in General in New York, the Unsound Festival in Krakow, and the Museum of Contemporary Art in Herford (MARTA), Germany. Performances have been done at Transmediale, Berlin, The White Building, London, and the New Forms Festival, Vancouver.
Their first book (‘Dead Record Office’) and vinyl record (‘Delusions of the Living Dead’/’DRNE Cartography’) are released together on AUDINT Records in the same limited edition triple gatefold package called ‘Martial Hauntology’ which also contains 6 large colour prints. By recounting the history of AUDINT since its inception, the book investigates deceptive frequency-based strategies, technologies, and programs developed by military organisations since 1944 to orchestrate the spectral phenomena of a haunting within an area of conflict. Instances of this frequency-based haunting of the battlefield include – World War II when the U.S. military’s Ghost Army pioneered speaker based deception techniques and apparatus; the Vietnam War in which the U.S. military deployed ‘Wandering Soul’ (‘Ghost Number 10’) tapes that imitated the voices of dead Vietcong fighters from helicopter mounted speaker units; and in Guantánamo Bay, where detainees who were legally dead yet biologically alive were tortured by Death Metal music.
New sonic and written instalments of the AUDINT’s archive will become available through AUDINT Records over the coming years. A 30-minute animated film based on the ‘Dead Record Office’ book is meanwhile in production as is a cassette release for the Reel Torque label out of Manchester.
Timedance owner, Batu has carved out a unique sound in a shockingly short space of time since his debut with Pinch’s Cold Recordings in 2013. Subsequent 12″s for Hotline, Pev & Kowton’s Dnuos Ytivil in 2013 and Beneath’s Mistry have found him grounded in Bristolian bassbin principles yet pushing that prism in wild, crooked new ways that have become something of a signature aesthetic.
This RBMA mix and interview will bring you up to speed with Batu’s groove, which just finished snaking its way across the USA in the wake of high praise from RA for Timedance 003 – inc. a killer Lee Gamble remix – on his homegrown label, who’ve just announced a superb new Lurka 12” due ahead of releases from the cream of the Bristol new class in 2016.
London’s Beatrice Dillon is a producer, artist and NTS DJ with acclaimed solo releases, remixes and collaborations across Hessle Audio, The Trilogy Tapes, PAN, Boomkat Editions, Timedance and Where To Now?. Recent performances include MUTEK Montreal, Dekmantel, Documenta Athens, Masåfåt Cairo, Moscow Save, Borealis Norway and Barbican Centre, London. She has collaborated with award-winning visual artists at ICA, Tate, Lisson Gallery, Southbank Centre, Centre d’Art Contemporain Geneva, Nasher Sculpture Dallas and Mona Tasmania amongst others. Dillon was the recipient of Wysing Arts Centre’s artist residency in 2016 and is a resident at Somerset House Studios, London.
Bonaventure is Soraya Lutangu’s nom de guerre. Under this alias, she has been developing sonic weaponry designed to confront oppressive power structures, tell the story of violence, indifference and abuse fuelled by racism, with Complexion released on NON Worldwide last year marking the prelude to her protest, fully expressed on Free Lutangu released via PTP.
She uses music as an identity research tool along with practical and speculative initiatives to connect her African and European roots and investigate human relationships.
A regular on Berlin Community Radio, Bonaventure has also made herself at home for several hours on London’s NTS. Her radio mixes bring disparate genres into smooth sequences she refuses to protect from abrupt collisions.
Chevel, the main pseudonym of Dario Tronchin, an Italian DJ, label owner and producer whose works range from hypnotic, minimalist floor-fillers to glitchy, intricately programmed experiments.
Hailing originally from Treviso, Italy, Tronchin moved to Berlin in 2008 where he spent a two-years period during which his sound changed drastically.
After this formative time and music released on Stroboscopic Artefacts and Non Series, Tronchin launched his own label Enklav, formed by a group of like-minded musicians and home for futuristic sound experiments – meanwhile DJing and performing live in clubs and festivals such as Berghain, Concrete, Village Underground, De School, Nuits Sonores and roBOt, among others.
Chevel’s highest-profile release to date came in late 2015 with the Blurse LP on Stroboscopic Artefacts, which featured more of a click’n’cuts sound reminiscent of labels like Raster-Noton or Mille Plateaux and got the attention of international press like The Wire, Resident Advisor and Pitchfork, to name a few, with the latest describing Tronchin as “a young producer not just making techno but taking it apart, rearranging it, breaking it.”
In early 2018 Tronchin is going to release his fourth studio album on the London-based label Different Circles where he’ll show his own take on the distinctive “weightless” sound, coming from a techno and house angle.
Born to Nigerian parents and based in Virginia, USA, Chino Amobi – alongside his counterparts, Congolese-Belgian, Nkisi, and Portuguese-South African, Angel Ho – forms NON: a collective of African artists, and of the diaspora, using sound as their primary media, to articulate the visible and invisible structures that create binaries in society, and in turn distribute power.
Key releases, such as the critically acclaimed full length debut Paradiso, delivered via UNO NYC, followed up from the vital Airport Music for Black Folk released on NON, which presented a radical perspective on contemporary electronic music and impressions of the airport as an international space and yet a totally Eurocentric & Western manicured experience, in addition the Izlamic Europe collaboration with Rabit, all weaving music and politics in a way other artists of his generation didn’t and don’t dare, exemplifying his strengths in providing unified themes and subversive insight to the wider consciousness.
It’s no push to see and hear echoes at this level of grassroots, autonomous agency and concerted organization in early 90s UR or in the way grime made its first, viral moves in the mid ’00s.
We invite your live booking enquiries for one of the most thrilling, uncompromising, visionary artists of recent times.
Europe, UK, Asia, Australia, South America: email@example.com
A fiercely competent young DJ who blows away any room she plays, Cõvco is by far one of London’s most original and exciting DJs. Her sets combine a hi-energy mix of footwork edits and experimental dance music which often result in a frenzied dance floor experience. With recent explosive sets at the likes of London’s Tropical Waste parties and after party for the PAN ICA show, as well as a much anticipated set supporting RP BOO in London, Cõvco has an exciting year ahead.
Europe, UK, Asia, Australia: firstname.lastname@example.org
A project heavily inspired by William Bennett’s fascination for Haitian vaudou, deploying Central African percussion in radical new ways, generating an intense sound unrivalled in its physical and emotional intensity. The name was derived from the song Cut Hands Has The Solution by his original Whitehouse project. 2011 marked the Cut Hands debut release, the critically acclaimed and best-selling Afro Noise I album, since followed by Black Mamba on Blackest Ever Black in 2012, and 2013’s incredible Madwoman on Downwards. The distinctive Cut Hands art aesthetic and design is provided by vévé artist Mimsy DeBlois, whose amazing paintings feature on several Cut Hands covers and live posters. Cut Hands music has also featured in many films including Siberia: Krokodil Tears (2011), Inside Syria (2011), Kings Of Cannabis (2013), Snoop Dogg’s movie Reincarnated (2012), and Julien Temple’s Glastonbury (2012).
The first show was in the earliest days of the legendary Cocadisco club in London’s West End, run by Piers Martin – Cocadisco, with the help of DJ Benetti, pioneered the Italo disco revival in London since then Benetti has performed sets at festivals and clubs regularly all around the world: Japan, Australia, USA, Germany, Poland, Italy, Ireland, and many other countries – in the UK also at Bloc, Faktion, CUM, Optimo, Cry Parrot, Cocadisco, Zazou, ItaloBlack, Juicy?, and many others.
FATTI (despite some grains of truth of course the following is all fun nonsense because Benetti is a totally made-up character)
Who is Benetti? Some ‘facts’ from his ‘bio’:
– first gig at a Mafia-controlled pizza restaurant in Vigevano (Northern Italy) in 1980
– owns an enormous collection of rare Italo CDs and vinyl, filling three huge rooms and a basement in his house
– a cognoscento in making a special aphrodisiac spaghetti a la slinguata
– big in China, especially in cities like Shanghai and Hang Zhou (where he lived for 18 months as paid guest of the Communist town council)
– during a big Eurobeat party in Byelorussia last October he was playing at to 2,000 people, some visiting army recruits from the local garrison started firing guns into the ceiling and literally brought part of the roof down
– DJed at a katoey bar, Soi Cowboy, in Bangkok for two months before falling out with the local police force over unpaid bribes for live sex shows
– did a set of rapidissimo para para in Roppongi (Tokyo) which got out of control when a large group of teenage girls got assatanate and started stripping to Delta Force’s Bang Bang and Lolita’s Cherry Girl
– spends more than 50% of his income on his beloved D&G clothes and accessories
FKA Scratcha DVA, the Hyperdub associate Leon Smart brings his newest DVA [Hi:Emotions] avatar to Annex, following the release of his most narrative-driven record to-date – NOTU_URONLINEU.
A dystopian tale of humanity ruled by a universal mega corporation in a branded virtual reality, DVA’s speculative sonic fiction obscures the previously blurred edges of grime, house and UK funky even more – as Laurent Fintoni puts it in this FACT feature, the album is a “gripping meditation on humankind’s embrace of machines and the fluidity of identity in the digital age.”DVA brings his own brand of altered reality to live presentation in collaboration with visual artist Roca, in an immersive, visceral AV show – get a taste of it with this NTS produced video.
Endgame is a producer and DJ based in London, Hyperdubs most recent signee. His densely layered sound emerges from the cold ashes of grime. Combining corrosive melodies and artillery like percussion, with reference to dancehall, tarraxo, and drill, but skewed an contorted into a genre in an of its own.
He released his ground breaking debut EP ‘Endgame’ on Portuguese label Golden Mist (2015), followed by the breathtaking ‘Savage’ on New York’s Purple Tape Pedigree (2016). In July 2016, Endgame joined the Hyperdub family, releasing his latest EP ‘Flesh’, a fierce statement of intent that pulls apart club music’s component parts and propells them into a new era.
As founding member of Bala Club with Uli-k, and Kamixlo, and as the host of Precious Metals, a bi-weekly show on NTS for the last 5 years, Endgame has focused on acceleration and experimentation. Helping define a new sound for London, that resists categorisation, and reflects the global exchange of sounds, rhythms and styles.
Europe, UK, Asia, Australia: email@example.com
Equiknoxx Music (Gavsborg, Time Cow & Shanique Marie)
Equiknoxx Music a production outfit from Kingston, Jamaica. Operating more than (10) years. They have worked with artistes such as Aidonia, Beenie Man, Masicka, Spice et al. In July 2016 they have released their debut album, “Bird Sound Power “parsed and pieced together by Jon K & Demdike Stare, and now thanks to link ups via Swing Ting’s Balraj Samrai (a longtime “livicated” supporter), it is issued on Demdike’s DDS imprint, replete with Jon K’s sleeve design.
Gavsborg: Hailing from East Kingston is Jamaican is music producer, Gavin “Gavsborg” Blair; Gavin has been producing under the label Equiknoxx Music for over ten (10) years. Equiknoxx Music is a production duo of two people: Nicholas “Bobby Blackbird” Deane and Gavin Blair, the sound of the production duo is easily identifiable with the use of Bird samples which complements their compositions. Equiknoxx Music is often synonymous with a group of Jamaican artistes; namely but not limited, Aidonia, Busy Signal and Masicka. The label has also been intrinsic in the creative development of J.O.E (Deceased), Shanique Marie and Kemikal Splash. Gavin’s first hit record was in 2005 with the Billboard accredited Busy Signal – Step Out, in which Gavin, along with Jazzy T were the driving, forces behind the production of the record. Gavin’s diversity and leftfield approach to music production has afforded him the ability to work with a vast number of artistes both locally and internationally, some of which are Aidonia, Busy Signal, Vybz Kartel, Spice, TOK, Alozade, Chico, Sizzla, Capleton, Kabaka Pyramid, Masicka, Shanique Marie, Kemikal, De La Ghetto, Missy Elliot, Shontelle Layne, Ky-Mani Marley
Shanique Marie: A girl whose height is no representation of the power and capacity of her voice, Shanique was born to sing. Her mother would say that she knew her daughter would be a singer from the very first cry she heard her bellow from her little mouth. Her nourishment began at Mona Preparatory where her voice had no place to hide. She was quickly discovered and was given the space of lead soloist all throughout her time there. Now the first female artiste for Equiknoxx Music, Shanique Marie primarily mixes her influence of Reggae with Jazz to create a fresh sound while keeping her other roots in R&B and Hip Hop. No stranger to the airwaves, Shanique’s first single “Coconut Jelly Man” featuring Cali P has enjoyed worldwide rotation, being playlisted on radio stations in Switzerland and Amsterdam, with constant play in the United Kingdom, Poland and in her homeland, Jamaica.
Time Cow: Music production was a long coming event for me since listening to those Stone Love and African Star recorded sessions almost every night since primary school waiting on my Grandma at work to go home. Fast forward to when I was 12, I got an iBook G4 that I still have this very day. I discovered Garageband on it and just went to town on that thing. Looking back at it now I see that step was just another step in the great work. I just made music in every capacity. Tried DJing first, songwriting, everything. I guess that leads to my, more, mixed/experimental sound somewhat. With this sound I’ve produced several tracks with Kemikal from Equiknoxx Music, Shokryme from dancehall artiste Aidonia’s 4th Generation/JOP camp, and others including artistes from Poland, Belgium, etc. Without having that very crystal commercial sound but still with positive review on my production, my friend Gavin from Equiknoxx Music urged me to be the one to get my music to people instead of waiting for every DJ in the world to play my songs to get a commercial hit. The way he saw to do this was to go play them to the audiences that liked them and this rekindled the DJing spirit which is how we have now come to have a combined production house where we also play to highlight our music as well as music from.
Berlin’s Errorsmith has been a respected figure in Germany’s club scene since the mid ‘90s. Through his own releases and his collaborations as part of MMM (with Berghain resident Fiedel) and Smith n Hack (with Soundstream/Soundhack), Errorsmith plays with the boundaries of dance music genres for an openness leading to new rhythmic and sonic shapes. Rooted in the club, his music is crafted with an ear for experimentalism, making for some deliciously intriguing physicality. His DJ mixes share a similar philosophy, disregarding genre norms in favour of body-moving eclectic musicality. Renowned for his popular synthesizer plug-in Razor, developed for Native Instruments, his self-built software instruments form the basis of both his productions and live sets. His collaborative 12” with Mark Fell via the PAN label was a popular release in 2015, listed in many end of year charts. A new live set debuted at Unsound festival 2016, which was one of the “Five key performances“ for Resident Advisor. Some 20 years into his career, 2017 sees the release of the long awaited ‘Superlative Fatigue’ album on PAN.
Roc Jiménez de Cisneros and Stephen Sharp make computer music for hooligans and deconstructed rave objects. Their music has been published on record labels like Entr’acte, Editions Mego, Presto!?, fals.ch or their very own ALKU, and showcased at festivals, clubs, galleries and museums throughout the world. EVOL recordings, installations and performances have a unique approach to sound matter, full of upward spirals, trance inducing patterns and challenging temporal structures.
Recent works include the LP “Proper Headshrinker”, published by Editions Mego, “Something Inflatable”, released on ALKU, a classic acid mix for iDEAL, and cassettes for Last Foundation and Sludge Tapes. They are currently working on stuff for Diagonal, Presto!?, BUS, Romvos, and Khalija.
genesis breyer p-orridge
Cultural Engineer, Artist, Writer, Lecturer, Singer-Songwriter, Musician, Poet, Performance Artist, Pandrogenist and Troubadour to Worlds, Genesis Breyer P-Orridge, is known as the founding member of Throbbing Gristle, Psychic TV / PTV3, Thee Majesty, and spiritus movens of artist collective Thee Temple ov Psychick Youth.
H/er work transcends the avant-garde of artistic expression, epitomising “the communion of art and life” in the realm of word, sound and self-creation – the latter most notably manifested in the”pandrogeny project” undertaken in concert with Lady Jaye Breyer P-Orridge.
With over 200 releases infused with h/er talents and transgressive creativity, Genesis is one of the most influential musicians in experimental, noise, industrial, and psychedelic music scenes.
A lifetime of probing, warping and dissecting traditional conceptions of gender and identity as binary structures, and a history of employing shock tactics to challenge dominant cultures and their institutions has garnered
P-Orridge the status of a counter-cultural icon, and s/he remains a fiercely inspiring being.
Helena Hauff is a DJ and producer from Hamburg, Germany, where she runs a club night called Birds and Other Instruments at the Golden Pudel Club. Helena’s sound as a DJ can’t be nailed down as she cuts between genres with ease. Dirty Acid, Chicago, Electro and Wave mixed in an obsessive way, as you can hear on Blackest Ever Black’s sub label Krokodilo Tapes, where she released a limited edition mix tape, ‘Obscure Object’.
As a producer this obsessive nature comes across in the intensity of her music. This can be seen in her releases that have been on Actress’s Werkdiscs imprint, and Bunker offshoot, Panzerkreuz. In addition, she is half of ‘Black Sites’ along with F#X, who have also seen a release on Panzerkreuz as well as PAN
Helena is available for DJ bookings and also live as Hypnobeat.
Hypnobeat – Provocative Percussion
James Dean Brown + Helena Hauff
Driven by the common DIY-attitude, James Dean Brown founded Hypnobeat in 1983. The main goal was to follow a “neo-tribal” approach by reducing electronics to the hypnotic rhythm core. Affected by the emotional impact of polyrhythmic energy, the collective’s live sets were often based on machine improvisations. Their wide range of analog studio/live gear included up to six synchronized rhythm machines – always with a focus on the inimitable sound of the Roland TR-808. Accordingly, Hypnobeat conceived an early form of contemporary club music, somewhere within the scope of classical Electro Funk and prototype Techno, and with a proto-Acid flavour – on “the front-line of sonic innovation before Techno was even a thing.”
In 1996, evolving from Hypnobeat, James Dean Brown formed Narcotic Syntax, a Perlon-rooted project he boosted together with Yapacc in 2003. Given the electronic music development with an increased interest in the early 80es cassette scene, it seemed unevitable that Hypnobeat would retransform from Narcotic Syntax. Consequently, what was supposed to be a one-off solo live appearance by James Dean Brown at Serendip Festival, Paris in 2012 became the exciting new evolution of Hypnobeat with Helena Hauff joining the project a year later.
The duo’s live performances are completely based on improvisation, exhausting the power of an untamed Roland horde which is unique on stage: 1 x TR-707 + 3 x TR-808 + 2x TB-303 + a formidable array of effects = provocative percussion, voodoo passion, tribal ecstasy, hypnodelic temptation, psycho-exotic magic, universal resonance, and a quantum of danger under a crypto-bohemian approach.
Live shows have been staged at prominent events like CTM (Berghain), Les Siestes Électroniques (Toulouse), Écoutes au Vert (Geneva), Insomnia (Tromsø), SAVE (Moscow), Intonal (Malmö), Rural (Japan) and Krake (Berlin). Hypnobeat has three EPs with current material out on Arma, istheway and Pluie/Noir, with more to follow on Rush Hour, Perlon, Bedouin and others, plus retrospective releases of original 80es productions on Dark Entries and Serendip.
JASSS (S. Jiménez Alvarez) is a sound artist and producer raised on the Northern coast of Spain.
Her parents were passionate about jazz, African and South American rhythms, which became
some of the most formative influences in her life.
From an early age, her fascination with sound drove her pursuit of understanding the relationship
between music and people. She left Spain to launch this endeavor, leaving behind a social and
cultural landscape from which she felt increasingly alienated. Feeling fractured in focus, she
began shaping a theme from the distractions, channeling it into new works.
The punk and hardcore roots of her youth evolved into a deep plunge in industrial, dub and
experimental music—worlds of sound that were evocative in mystifying, inaccessible ways. After
moving to the Netherlands in 2010, she began editing field recordings and probing the worlds of
electronic music and soundscapes. She moved a year later to Berlin, where she scored several
In 2015 she made her first appearance as a DJ with a distinct, eclectic style that would become
her signature approach. After a few years of studio work, her first 12 inch, Caja Negra EP, was
released on the American label Anunnaki Cartel. Her second record, Mother, was released that
same year on the Italian label Mannequin Records, followed by Es Complicado, on the same
label. These days, she is focused on the experimentation of sound and spaces, working on
several projects including electroacoustic pieces, live, and audiovisual performances. Her first
solo album, Weightless, will be released in 2017 on the Swedish label iDEAL Recordings.
Kamixlo’s music lies at the riveting, emergent edge of grime, reggateon and experimental bass dimensions. The London-located producer’s Demonico EP with Visionist’s Codes X Pan marked out bold, unique new territory between established poles, a sound which he’s key in fostering at the Bala Club events and with his NTS show, which will soon be showcased on the forthcoming Bala Club compilation + a second solo EP.
At the crux of new club movements lead by pan-latin diaspora artists, Kamixlo’s music been compared and aligned with Berlin’s boundary-pushing Janus Club sound, who in early 2016 shared a 2 room event with Bala Club at Corsica Studios feat. M.E.S.H., Total Freedom b2b Sami Baha, Uli K, Chino Amobi and Nkisi, a.o.
Keith Fullerton Whitman
Keith Fullerton Whitman is a musician currently based in Cambridge, MA. Starting in the mid-1990’s while working on a “Music Synthesis” Degree at Boston’s Berklee College of Music, Keith began exploring electronic music’s many facets, eventually yielding dozens of full length albums, singles, remixes, and compilation appearances for influential labels such as Kranky, Editions Mego, PAN, Planet µ, Carpark, Room40, Amethyst Sunset, Amish, NNA Tapes, No Fun Productions, Agents of Chaos, Arbor, Digitalis Limited, Ekhein, Heavy Tapes, Rare Youth, Root Strata, and many more.
These days his creative energies are largely put into the continued development of a truly “Live Electronic Music,” incorporating an ever-changing hardware-based modular system that allows for a complexity of sound & vision that had previously only been available via software-solutions. While this work has recently manifested itself as a pair of albums for Editions Mego entitled “Generators” & “Occlusions,” it’s largely intended for the stage.
Over the past 15 years, Keith has given over 500 performances of his music – everything from solemn held-tones to pointillist reckless-abandon – at venues ranging from “Punk” basements to some of the most celebrated European & North-American festival stages such as Akousma, CTM, Dissonanze, Electronica En Abril, Kontraste, LUFF, Mutek, Novas Frequencias, Présences Électroniques, Skanu Mesz, Sonic Acts, Suoni Per Il Popolo, Unsound, Werkleitz, etc. In addition, he has given dozens of talks, taken part in Colloquia, set up fIlm & audio installations, and organized music festivals, concerts for other performers, and film events in the Boston area & beyond.
He has collaborated both on stage and on record with Oren Ambarchi, Rhys Chatham, Tony Conrad, Greg Davis, Deerhunter, JD Emmanuel, Lawrence English, Mark Fell, David Grubbs, Michael Karoli & Malcolm Mooney (Can), Eli Keszler, Felix Kubin, Alan Licht, Matmos, Geoff Mullen, Benjamin Nelson, Charlemagne Palestine, Terry Riley, Ben Vida, and countless others. He is also known for his performances and realizations of works by composers such as Phill Niblock, Dick Raaijmakers and Conrad Schnitzler. He has composed for dance, and his music has been set to motion by choreographers & dance ensembles including Chantal Yzermans (at the Merce Cunningham Dance Studio,) the Andersson Dance Company, and the NYU New Music and Dance Ensemble. He has supplied music and sound-design for several video game & “music for picture” projects, advertisements, and assorted environments.
A 2011 joint commission from Sonic Acts, Kontraste Krems, and Le Groupe de Recherches Musicales (GRM) led to a week-long session in the fabled INA-GRM studios in Paris, during which Keith realized a life-long dream, completing an 80-channel, long-form Musique Concrète work entitled “Rythmes Naturels” utilizing many of the idiosyncratic early-electronic instruments held in the studio’s archive.
Since 2003, in his spare time, he has helmed a highly specialized experimental-music distribution company out of his studio / office / work-space in Porter Square, Cambridge, MA named “Mimaroglu Music,” charged with helping labels & artists all over the world with the preparation & dispersion of their tangible music artifacts. Prior to this he was the Sales-Manager of noted New England distributor Forced Exposure, for whom he personally penned hundreds of “capsule” descriptions of catalogue new-arrivals – a tradition he keeps alive to this day with Mimaroglu.
South London based musician Klein is an artist who’s neoteric vision has seen her quickly become one of the UK’s most intriguing and unpinnable producers and performers. Her often playful and restive approach to composition is instantly alluring. Samples of obscure Nigerian B-Movies clatter into jagged beats. Distant piano loops lurk in the haze whilst beguiling vocals fade in and out of the sensory World she has created.
This year has seen the release of her debut album Only, self released online and then on heart shaped diamond USB stick by DIY label Howling Owl Records, and more recently the Lagata EP that has led her to be featured in Dazed and Confused, Wire, and i-D magazine; the latter of which premiered the beautiful Akinola Davies JR directed video for Marks Of Worship – a stunning five minutes piece of murky ambience dominated by a Whatsapp sermon sent from a Nigerian Aunt. You would expect nothing less from Klein.
Lee Gamble is a producer and DJ of exploratory electronic/dance music, and owner of the UIQ label. From roots as a teenage DJ rinsing state-of-the-art jungle on pirate radio, Lee explored the mechanics and dimensions of computer music, avant composition and noise in the ’00s with a series of abstract, sculptural releases and live improvisational and multichannel presentations.
Subsequently, he tracked back to the floor from an oblique angle with the ambient-techno / jungle deconstructions of a series of defining releases for PAN – Diversions 1994-1996, Dutch Tvashar Plumes, Koch and Kuang, followed by a 12” for his newly minted UIQ label – Chain Kinematics.
On Mnestic Pressure, Lee’s first album with Hyperdub, signals from elsewhere that echoed through his previous releases – signals from the unconscious, sub-aqua, hallucinated, dreamt – are decoded into a terra interpretation.
Mnestic Pressure is an exposition of individually and collectively pressured memory, musically articulated in a series of elegiac melodic movements, punctuated with swerving beat structures and and shrill pitch manouevers. Stylistic motion twists and genre bending mixes are reminiscent of Lee’s dynamic DJing style.
Lee has toured extensively over four continents, playing solo and with visual collaborator Dave Gaskarth, performing their cartographic A/V show Foldings, as well as regularly DJing.
Lee has been commissioned by Shiva Feshareki and the London Contemporary Orchestra to compose two acoustic pieces to be premiered at one of Peak District’s caves in September 2017 alongside the first performance of Éliane Radigue’s latest composition.
Lee hosts a monthly NTS radio show.
Logos is another pillar of London’s Boxed prism, as well as a celebrated solo producer/DJ, and is also known as 1/3 of the cyberpunk-inspired trio))) The Sprawl, alongside Shapednoise and Mumdance, with whom he runs the Different Circles label and club events.
Across releases for Keysound Recordings, Tectonic, Glacial Sound and his own label, Logos’ productions persistently recall the lush sci-fi darkness and space of late ’90s Metalheadz and Reinforced records, whist isolating and augmenting the mechanics of esque-y instrumental grime and early, ‘ardcore rave in a style he aptly terms Weightless.
In 2016 we hold hopes for a follow-up to the below-kelvin cinematic sound designs of his modern classic Cold Mission (2013) album and the rugged rollers of last year’s Proto collab with Mumdance. Whilst we can confirm or deny nothing at this stage, it’s safe to say that new material is necessary, if not in-progress already for Different Circles, following more recent remixes of M.E.S.H and Mr. Mitch.
Europe, UK, Asia, Australia: firstname.lastname@example.org
As a co-resident of Berlin club night Janus, M.E.S.H. has been constantly active bringing fragmented rhythms to the dancefloor on PAN EPs such as Scythians and Damaged Merc, and building oblique, theatrical sound-stages on longer works such as Piteous Gate. Violent cinematic effects enshroud ornate, virtual-acoustic instrumentation, with an eerie calm ebbing beneath the flux. On new album Hesaitix the atmosphere has shifted; the radical deconstruction of previous releases has given way to subtler interventions, building new structures in the territories where the unconscious and the alien intersect.
Photo: Nadine Fraczkowski
Europe, UK, Asia, Australia: email@example.com
Mark Fell is a multidisciplinary artist based in Sheffield (UK). After studying experimental film and video art at the local polytechnic he reverted to earlier interests in computational technology, music and synthetic sound. In 1998 he initiated a series of critically acclaimed record releases, featuring both collaborative and solo works, on labels including Mille Plateaux, Line, Editions Mego, Raster Noton and Alku. Fell is widely known for combining popular music styles, such as electronica and techno, with more academic approaches to computer-based composition with a particular emphasis on algorithmic and mathematical systems. His recent musical practice has become increasingly informed by non-Western musics, this is evident in two linked works “Multistablity” and “UL8” which explore a number of unfamiliar timing and tuning systems. Uncut magazine called these “completely mind-blowing” and the Wire magazine said these were “amazing”. As well as recorded works Fell produces installation pieces often using multiple speaker systems. Although well versed in the use of ambisonics, his work in this area is characterised by ‘non-illusion based’ approaches where multiple waveshapes are spatially distributed to form complex synthetic sonic environments. The diversity and importance of Fell’s practice is reflected in the range and scale of international institutions that present his work – from large super clubs such as Berghain (Berlin), to Hong Kong National Film archive and many others. Fell has received commissions from prestigious institutions including Francesca Von Habsburg’s Thyssen-Bornemisza Art Contemporary (Vienna) with a premier at Seville Biennale of Art, and the National Ballet of Madrid have performed to his works. He has been recognised by ARS Electronica (Linz) with an Honorary mention in the digital musics category, and was shortlisted for the Quartz award for his contribution to research in digital music. In addition to his creative practice Fell has been involved in a number of academic research projects ranging from computer science to musicology, and as a curator Fell is widely recognised for his contribution to the development of experimental electronic music in Europe.
Sound artist Martins Rokis a.k.a N1L made one of 2015’s most striking debuts with the Wrong Headspace EP’s light-and-time-bending alien dance music for Lee Gamble’s UIQ label. As N1L, Rokis intersects computer music and dancefloor vectors, exploring perceptual predilections through the sensual immediacy of abstract sound design.
His work has largely been realised for gallery installation and multi-channel A/V performances,but most recently converted into a form of live performance pressure that perfectly translates to the dancefloor. N1L is primed for club, gallery or installation bookings.
“Listening to the music of N1L is at times like staring into a vast, bleak expanse where time moves ata different rate to the rest of the world. N1L’s music feels stretched and compressed in equal measure, combining nostalgic traces of 90s techno, jungle and rave into something that sounds like it’s been torn from another era and warped in the process.” – FACTmag
As co-founder of NON Worldwide, whose raison d’etre is described as “a collective of African artists and of the diaspora, using sound as their primary media, to articulate the visible and invisible structures that create binaries in society, and in turn distribute power”, Nkisi’s ethos and music is imbued with a certain punk sensibility along with a political push back against conformity. Her DJ sets draw from a wide range of influenced forming a fast paced and exhilarating experience in the dance. Her production reflects deeply in these influences also and provide a sound that is equally relentless and evocative.
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okzharp & manthe ribane
OKZHARP is a musician/producer and dj based in South London, UK but originally from Cape Town, South Africa. As 1-third of LV, Okzharp released 2 full-length albums. ‘Routes’ was released in 2011 on Keysound, their second collaboration with writer/vocalist Joshua Idehen after the ’38 EP’ in 2010. Then in 2012 ‘Sebenza’ was released on Hyperdub. It was made in collaboration with South African vocalists OkmalumKoolkat, Spoek Mathambo and Ruffest. Lead track ‘Sebenza’ was released as a single, featuring a remix by DJ Clock. There have been other remixes and musical collaborations with Zaki Ibrahim, Rubi Dan, Errol Bellot, Dandelion, Quarta 330, Zomby, Untold, Yungun, Pinch, Micachu, Das Kapital, Trim and Mumdance released on labels Hyperdub, Keysound, Souljazz, 2nd Drop and Hemlock. It’s pronounced ‘Ok Sharp’.
MANTHE RIBANE is a Soweto-born performance wunderkind who has been making a name for herself across the creative spectrum, working in film, music, dance and performance art. She toured the arenas of the world as part of the Die Antwoord live show. As a creative catalyst, Manthe has been a key member in some of South Africa’s contemporary movements, from the fashion/art squadron, The Smarteez back in 2006, to the dance/performance-art group V.I.N.T.A.G.E who won Best Dance Crew at the South African HipHop Awards 2014. Her latest initiative, Dear Ribane, is a collaboration with her siblings Tegebo and Kay Kay, as seen her travel to London, Paris and Geneva to engage in multimedia projects. She was recently awarded a ‘Young Inspiration’ award for her work by Red Bull South Africa. She works highly engaged with youth and female empowerment.
Olivia has been a key player in the Polish electronic music scene for 14 years, both solo and performing as Chrono Bross, with her brother Kinzo Chrome.
The originator of the fabled Kraków club night, Radar, Olivia, together with her confrère Chino, remain fully committed to growing the local scene.
Many will recognize Olivia as Unsound’s resident DJs, she has also recently started performing live as Morskie Oko, with Steffen Bennemann and Chino, and is also the main booked of Kraków’s Szpitalna 1 club.
Her reputation has steadily amplified over the years thanks to her idiosyncratic track selection and excellent technical skills. Through raw and dark techno, liquid acid, deep cosmic reaches, the simplicity of electro and the warmth of house, her sets shine with originality and a strong belief in the sound she delivers.
She draws inspiration from both music and the world around her. From the future shock of Detroit techno (Mad Mike, Jeff Mills, Robert Hood, Juan Atkins, Scan 7), the distinctive Dutch sound (Clone, Creme, Bunker, Viewlexx and Rush Hour) through to the images and ideals of science fiction and technological progression throughout the 70s. The infinity of space, the unfulfilled promises of robot designs and the unexplained mysteries of paranormal phenomena all inform her approach to sound and her search for music.
Palmistry is the project of London-based musician Benjy Keating. A vocalist and producer with a singular vision and voice, Palmistry makes hybridized pop music that is both distinctly new and yet, like the best songwriting, sounds instantly familiar. As the producer, writer and performer of his debut LP, PAGAN is a succinct showcase of his holistic approach to contemporary pop, where melancholy and euphoria share equal space and sonic decisions resonate as much as the emotions that run through it. Beyond the music, Palmistry gives us a multi-layered experience – working alongside talented collaborators to build his own visual world through artwork, photography and film.
Ploy, the pseudonym of South London based artist Sam Smith, emerged onto the scene in 2016 with his debut release, ‘Sala One Five’ on the renowned Hessle Audio label, expertly followed up by a slew of EP’s finding residence on Batu’s Timedance imprint, the faction whom collectively carved out a unique sound in a shockingly short space of time, grounded in UK bassbin principles yet pushing that prism in wild, crooked new ways that have become something of a signature aesthetic..
Ploy’s unique sound has a place among modern electronic music’s most innovative, receiving remix treatment from the likes of Beatrice Dillon and Peder Mannerfelt.
As well as regularly performing in Europe’s top venues, having already mixed an Electronic Explorations podcast, held down multiple NTS shows and a week-long residency on Rinse FM, and Fact Mix most recently. 2018 sees a hefty release schedule, with the South Londoner continuing to strain the most challenging of dance floors and bassbins alike.
Signalling from the North of England, newcomer Rian Treanor re-imagines the intersection of club culture, experimental art and computer music, presenting an insightful and compelling musical world of interlocking and fractured components.
Having left a vivid impression in 2015 with his debut 12″ A Rational Tangle, he’s just delivered a scintillating 2nd EP Pattern Damage on The Death of Rave, landing with a resounding 10/10 and album of the month in Mixmag and Boomkat on release.
Pattern Damage sees a marked step from last year’s debut, hypridising idiosyncratic footwork and garage mutations with noisier, pointillist hooks and innovative arrangements.
By splicing the syncopated swing ’n parry of Sheffield’s speed garage sound at +8 with the whirlwind flux of Chicago footwork, Detroit jit and the dizzying dynamics of Max/MSP software, his ping-pong ballistic live performances dance from pendulous, aerobic minimalism to taut grooves with grid melting nous, all driven with a breathlessly forward, quicksilver style that’s entirely Rian’s own and with few comparisons in the current field.
Russell Haswell is a restlessly forward-thinking, genre-defying artist, performer and curator born in Coventry and currently based in London, England. With a background steeped in conceptual art, computer music, black metal, noise, techno, laser-graphics, free-stye and solo improvisation, his practice is renowned for broaching the extremities of visual and sonic arts.
He’s performed in noted Live and or HDJ [hard disc jockey] collaborations with Aphex Twin, Gescom, DJ STINGRAY, PAIN JERK, Pan Sonic, Regis and Masami Akita (Merzbow), among others, and worked with Florian Hecker on Iannis Xenakis’ UPIC system in their “Haswell & Hecker” duo, whose ‘Blackest Ever Black’ (Warner Classics) LP is widely considered a milestone of modern electronic music composition. Russell’s recorded work has also been published by a wide number of esteemed imprints, most notably the 8 track CD catalogue ‘Live Salvage 1997 – 2000′ (Honourable Mention, Digital Music’s, Prix Ars Electronica) for Editions Mego, but also for Warp, Downwards, Bocian and his OR label, home to world’s first MiniDisc release. In 2016 Russell supported Autechre on a 30 date european tour, and started “Haswell studio Bleep store”, to release HI-RES digital recordings quickly, and has currently completed a forthcoming release for Powell’s Diagonal Records, his 5th release for the label.
Sam Kidel is the Customer Service Agent. As the Customer Service Agent, Kidel probes and reshapes Ambient Music, exploring its emotional and sensory effects and its relationship with capitalist production, as Muzak.
Kidel was formerly a member of the Young Echo collective (Young Echo Records, Ramp Recordings), which he co-founded, and Killing Sound (Blackest Ever Black). Since the age of 15, when he started making music with computers, Kidel — also operating under the moniker El Kid — has built up a diverse portfolio, including soundtracks for British and French TV documentaries, fashion shows, French painter Fabienne Verdier, the New York theatre world, and installations and performances from Glasgow and Geneva to Basel and Berlin.
As part of his current work with Ambient Music, Kidel has curated a conference at Oxford Brookes University titled The Politics of Ambience (with Terre Thaemlitz, David Toop, Nina Power and Chino Amobi amongst the contributors), created a mix for Thump (Vice) re- visiting archive recordings of Ambient Music parties of the early 1990’s, and released an acclaimed LP for Death of Rave, Disruptive Muzak.
Kidel completed a Masters in Composition and Sonic Art at Oxford Brookes in 2015 and now teaches at the British and Irish Modern Music Institute in Bristol.
Sensate Focus is a project by Sheffield-based artist and music producer Mark Fell, responding to the musical structures, techniques, vocabularies and sounds present in a collection of house musics produced in North America around 1992-1994.
Through a series of records (released in conjunction with Editions Mego) and “live” presentations, Sensate Focus addresses the division of music into repeatable patterns of observable and fixed duration; the placement of percussive events at specific points within patterns to demarcate distinct levels of temporal division; the organisation and repetition of patterns to form larger “arrangements”; and, strategies by which layers of instrumentation are introduced and removed.
For Fell this exercise necessarily implies a response to the technological structures, techniques and vocabularies present in equipment within which they are constituted, and their functionality within specific social contexts.
Szare were formed during a game of darts at the Royal Oak pub in South Manchester. Their first transmission came via a Horizontal Ground white label in 2009 under the 126.96.36.199.5 pseudonym. They have since released music under the Szare moniker through Frozen Border, Idle Hands, Field Records, Project 13, amongst others.
They make techno which is strongly influenced by the pub scene in Lancashire and North Derbyshire, though have occasionally dabbled with a more Staffordshire-inspired sound.
TCF is the moniker of Norwegian contemporary artist and musician Lars Holdhus. His work explores themes of code, cryptography and musical composition through the use of visual, sonic, built and written concepts. Holdhus creates a world that draws references from musique concrete, hardstyle, hardcore, poetry and digital artifacts. His practice shifts between art exhibitions and performing music pieces. Some recent exhibitions included Look….No Hands at HHDM in Vienna, Access Speed at Vault in Berlin and Driving Fast Nowhere at Polansky Gallery in Prague.
The titles and descriptions of his work are written in cypher text, the key to which is hidden within the piece itself. The first release came out on YYAA tapes in 2013 and was made in a limited edition of 50 copies. His upcoming release on Liberation Technologies titled E4 15 C4 71 97 F7 8E 81 1F EE B7 86 22 88 30 6E C4 13 7F D4 EC 3D ED 8B further explores the cryptographic theme, consisting of digital and physical content containing the necessary keys to unlock the full meaning of the work.
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William Gibson’s uncannily prophetic novel, Neuromancer, was the 1st in a set collectively known as The Sprawl. The same term also refers to a fictional Megatropolis covering the entire Eastern US seaboard in the books, and was also the title of a staggering, standout track on Mumdance’s pivotal Take Time EP.
The Sprawl is now also a noun for Logos, Mumdance and Shapednoise’s new collaborative trio, which was first conceived at Berlin’s CTM15 festival. They made their recorded debut with EP1, released in November 2015, of a rolling series to be archived by The Death of Rave.
Jack Adams aka Mumdance has been busy restructuring the DNA of grime and UK bass stylings for years now. Following early success with heavy-hitting low-end mutants, he revamped his style and started from scratch, using predominantly analogue gear for his own productions. In 2014, Mumdance and Logos founded Different Circles, a label dedicated to the future sounds of grime and the genre’s interfaces with bordering aesthetics borrowed from ambient to techno.
Logos is best known as a producer and DJ in his own right, and possibly the first to explore the disembodied, ‘weightless’ style of grime on his debut LP Cold Missionon Keysound Recordings. Alongside Slackk, Oil Gang and Mr. Mitch he is also one of the heads behind the seminal instrumental grime night Boxed.
Berlin via Palermo’s experimental techno auteur Shapednoise has made a name for himself by pairing eerie ambience in the tradition of the Italian horror score with industrial leanings on labels like Opal Tapes, Dominick Fernow’s Hospital Productions and his own Repitch Records.
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v1984, the Glacial Industries affiliate whose most recent release, ‘Becoming (N)one’, saw him provide what RA describes as “doom-laden bass” with “luminous melodies”, bringing to the table a devastatingly beautiful take on increasingly saturated genre most notably with the almost constant presence of the piano.
It is the piano that will form an integral part of his yet to be premiered live show, slated to be debuted in the first part of 2017 in conjunction with an EP to be released on a crucial label.
v1984 DJ sets encompass club workouts, instrumental obscurities and his now infamous edits, which have garnered widespread attention, both in the club and on radio.
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Veronica Vasicka is a photographer, musician, DJ and founder of the epic record label and on-line music resource Minimal Wave. As one of the founding members of East Village Radio, she managed the station during its pirate days and began collecting obscure and long forgotten gems that fell somewhere between the Cold Wave, Post-Punk, Industrial and Synth-pop genres.
Not knowing what to classify these bands as, she coined the genre Minimal Wave and set up the website minimalwave.com as an online resource to share her finds with the rest of the world.
The response to the website was huge and shortly after its launch, Veronica began tracking these artists down and re-issuing their work on the Minimal Wave label. Most of these bands recorded extremely limited copies of their work in their basements and shared their work with the world via John Peel’s radio show and a handful of underground music mailings. The music released on the label ranges stripped down, D.I.Y. synth-pop to pioneering industrial electronics.
In addition to running Minimal Wave, Veronica launched the Cititrax label as way to expose newer synth-based acts. She DJs monthly in her hometown, New York City, and around the world, as well as every Sunday from 6-8pm ET on her East Village Radio show Minimal Wave.
She has released over 50 albums now, amongst them were two highly lauded compilations: The Minimal Wave Tapes: Volumes 1 and 2 which were picked up, released and distributed by Stones Throw Records.
Veronica’s DJ sets range from raw, danceable industrial electronic to cold wave fused with mutant house and underground techno. She likes to tell a story when spinning and to teach the crowd about the roots of electronic music. She has a fantastic talent for synthesizing her influences into an unforgettable night of dancing.
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ZULI is Ahmed El Ghazoly – a multi-instrumentalist, producer and sound artist from Cairo, Egypt – co-founder of VENT, a music-space-turned-club-night in Cairo with a sister night and record label based in London. ZULI has been a prominent figure in Egypt’s independent music scene for almost a decade now, with production credits that span from Post-Punk and Shoegaze to Hiphop and Techno.
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